告白2020

　　卡露与丈夫荣一直生活沉闷，欠缺新意。直至一日，她工作的老人院来了一位新房客──大盗亨利，卡露负责照顾他的起居，并开始怀疑他是诈傻扮懵。于是便用种种方法迫亨利现形，最后她终于得偿所愿，更与亨利一起做案，这次前所未有的刺激改写了她以后的人生……

　　斯奈利和达利从小就是性情迥异的死对头，即使是长大后达利变成威风的骑警，斯奈利仍为无恶不赦的大坏蛋，在一次抢劫活动，斯奈利占据了小镇，一切都在乱无法纪的状况下进行，达利要如何解决这混乱的场面让小镇恢复平静？

男主是个正宗的屌丝，直到有一天成熟的妹妹搬进家里住，才让乱糟糟的家里整理的不错，妹妹还带了一个女同学合住，女同学其实从很久以前就一直对男主暗恋着，而随着自己的成熟，她有了让男主迷恋的肉体，她也希望通过自己的肉体来让男主跟她恋爱，而男主对此更是兴致勃勃，于是背着自己的妹妹跟妹妹的朋友展开了一番激情之恋.... 　

　　新一年暑假到来，恒（广濑斗史辉 饰）与弥惠（丰田真唯 饰）两兄妹来到海滨小镇戸野崎的叔叔家度假。刚来的第一天，他们便赶上了一场罕见的大台风。听亲戚孩子说，每当台风登陆时，大海里的亡灵将会登陆上岸。看似是一个没有根据的传说，但是从这一天开始，镇上的孩子便接连看到奇怪的景象，比如躲在水里玩捉迷藏的儿童鬼魂，开往大海的死亡列车……与此同时，孩子们也接二连三地失踪。这些都让他们想起很久以前的一段往事，许多年前，镇上的小学建在大海边。某天，几名学生在空荡荡的校舍里玩捉迷藏，谁知却遇上史无前例的大海啸，孩子们连同校舍全部葬身海底。似乎，这几个死去的学生仍想继续她们未完成的游戏……
　　本片根据常光彻的同名小说改编。

　　A down-and-out gangster hires an alcoholic press agent to make his blonde bombshell girlfriend a recording star in 6 weeks. But what is he going to do when he finds out that she has no talent? And what is going to happen when the two fall in love?

　　【收录话】
　　「もののけの息」主演：喜多岛舞 监督：三宅隆太
　　「御祓いは效かない」主演：橘実里、小林宏史 监督：佐々木浩久
　　「毛浪」主演：辻美里、井上优里菜 监督：荒川荣二
　　「残业1」主演：いとうまい子、堀江庆 监督：平野俊一
　　「残业2」主演：いとうまい子、堀江庆 监督：平野俊一
　　「黑い男たち」主演：石坂良磨、坂寄卓士 监督：豊岛圭介
　　「幽灵屋敷と呼ばれる家」主演：堀北真希 监督：佐々木浩久
　　「教えて」主演：佐藤康惠、末吉宏司 监督：豊岛圭介

The Man Next Door

　　已经年届半百的上班族坂町晴彦（中井贵一 饰），意外迎来了一个想不到的访客——户泽美枝（波瑠 饰）。大学生美枝此时正在甲子园事务局的“Masters甲子园”部门担任志愿者，此外她还是坂町当年高中棒球队的队友松川典夫的亲生女儿。当年松川因卷入伤人事件使坂町他们梦断甲子园，在过去的27年里他每年元旦都会给队友写贺卡，可是从来没有寄出，直到他在上一年死于3·11大地震。美枝恳请坂町能代表川越学院走入甲子园，同时希望更多了解父亲生前的故事。怀着复杂情感的坂町找到了高桥直之（柳叶敏郎 饰）等老队友，而在他们决心为那年夏天的遗憾画上句号的时候，一个隐藏了许久的秘密也悄然浮现……
　　本片根据重松清的原作改编。

　　Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?
　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)
　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.

　　昭和初年，私家偵探魚塚被一老婦人委託調查被綁架女兒的下落。偵探追查下去，卻發現事件和一部消失了的電影《永遠的謎》有關，這部電影比號稱日本最早起用女性演員，歸山敎正的《生之光輝》更早有女演員表演，但被警察禁映而消失。鏡頭跟著主角深入淺草的遊樂區，探索默片年代的戲院，解說的辯士、現場配樂的樂隊、放映前的雜耍表演，當年的電影是很「綜合」的娛樂…… 完全和電影業無關的新人導演林海象一鳴驚人的處女作，比《星光夢裏人》早近三十年採用仿默片的拍法，全部黑白攝影，人物對白全部用字幕卡代替，聲軌只有配樂、效果音等，引領觀眾暢遊世紀初的夢工場。

　　A man comes into possession of an ancient Aztec doll. However, the doll is possessed by an evil spirit, which takes over his body.